Tag: Horror

THE BANANA SPLITS MOVIE (2019)

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Directed By: Danishka Esterhazy
Written By: Jed Blinoff & Scott Thomas 
Cinematography: Trevor Calverlay 
Editor: Michael P. Mason 

Cast: Dani Kind, Steve Lund, Celina Martin, Finlay Wojtak-Hissong, Sara Canning, Romeo Carrere, Maria Nash, Naledi Majola

A family attends a live taping of The Banana Splits television series, but are forced to survive as soon as the characters go haywire and start a killing spree around the studio.

You know what you are going to get from this type of film. Then again you might not of expecting this to be an exact big-screen version of the television show. Anyone going into this film can’t complain too much. As for how good or bad quality did you really think it would be?

As this is more a kind of reinvention. we have the characters more or less going on a murder spree. This is explained but seems a rather thin reason.

At first, the characters who are killed are generally unlikeable so you pretty much know they are going to be victims and the film doesn’t try to hide that fact, but then some rather likable and innocent characters start to get off.

The most enjoyable aspect of this film is the kills. The violence which like the show is very over the top and impressive in a ridiculous way. Keep in mind this Film was made to premiere in the Syfy network. Though bathes itself in gore.

The film plays like a dark comedy the only problem is that it really has no style. It just leaves the audience waiting for the kills. Then at first seems like a more demanding black comedy that at first is a revenge movie of sorts. Then just becomes a horror film. That flirts with killing children but then backs away from the edge that it tries to push us over.

There is an interesting part of the movie when a character cracks and becomes a totally different type. One that actually might relegate a sequel.

Though the film ends up being pretty predictable and comes off as a rushed Canadian horror feature. That is generic except for its pop-culture tie-in. That seems the best way to use the characters as we have already had a kind of animatronic live-action feature film in WILLY’S WONDERLAND

It doesn’t seem anyone including a studio was interested in trying to update it into a Family Comedy. So this seems an inventive way to go or at least a way to make a quick dollar for the franchise and bring them up to date maybe even be slightly subversive.

GRADE: D

SLAXX (2020)

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Directed By: Elza Kephart Written by: Elza Kephart & Patricia Gomez Zlatar Cinematography: Steve Asselin Editor: Miranda Ouellet

Cast: Romane Denis, Brett Donahue, Sehar Bjojani, Kenny Wong, Tianna Nori, Jessica B. Hill, Erica Anderson, Hanneke Talbot 

When a possessed pair of jeans begins to kill the staff of a trendy clothing store, it is up to Libby, an idealistic young salesclerk, to stop its bloody rampage.

This horror-comedy is better than the premise might have you believe. As a film about a killer pair of jeans can be.

Obviously, this film is the anti-SISTERHOOD OF THE TRAVELING PANTS. As the film has a ridiculous premise but manages to not be as embarrassing as it might seem.

The film is definitely a satire on consumerism. As the main directive to for these characters to sell these jeans and it becomes more of a lifestyle. As we are served a diverse cast who all have more of a liberal outlook, but remain either bitchy or unlikeable.

As this is almost paint by numbers you can tell who is going to die in what order and who the eventual final girl is going to be. Luckily the filmmakers make it fun to go through all the usual cliches and keep the audience entertained and invested.

While the film offers gore it still feels. For like a lite comedy. It feels more full of fluff rather than anything substantial or strong. This is fine as it keeps the film moving along at a fast speed for a movie that is under 90 minutes.

This is the type of film you more watch to see how creative the kills will be.

The first two-thirds of the film is horror with a cynical comedic edge. The third act is where the film all of a sudden tries to be more serious and point out issues of child labor abuses. It is understood the film has been building to that point throughout and chooses to take it more seriously. Though it does make for an abrupt change of tone. 

It gives the movie something to stand on with such a silly premise. That makes the film more of a tragedy and gives it the strength of some kind of legitimacy. 

Grade: C+

WILLY’S WONDERLAND (2021)

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Directed By: Kevin Lewis 
Written By: G.O. Parsons
Cinematography: David Newbert
Editor: Ryan Libert

Cast: Nicolas Cage, Emily Tosta, Beth Grant, Ric Reitz, Chris Warner, Kai Kadlee, Caylee Cowan, Terayle Hill

A quiet drifter is tricked into a janitorial job at the now condemned Willy’s Wonderland. The mundane tasks suddenly become an all-out fight for survival against wave after wave of demonic animatronics. Fists fly, kicks land, titans clash — and only one side will make it out alive.

This is obviously a film that throws many winks to the audience and expects the audience to know what kind of movie this is.

Nicolas cage gives a wordless performance. Where he comes off like the man with no name. So he seems almost like a western character of sorts. A drifter who wastes no time on any character development. 

His character never seems surprised by anything that is going on. He keeps working showing a strong work ethic and moral code to a degree. As long. As it doesn’t interfere with his breaks. As he more fights them in self-defense than seeking to stop them.

His presence makes sense with this kind of film, but cage seems barely invested. 

There is barely any blood if there is it is darker, So that it looks like grease or oil representing blood. So not too gory. 

The stereotypical teens make it feel like a true horror in the fact that most of them are here only to be victims. Whose fate we know is coming. 

It’s a horror film yet the killing/death scenes don’t even feel notable or original. It comes across as workman-like and so basic. it just comes across more as means to an end 

The film is not expected to take seriously, more random than the recent THE BANANA SPLITS movie. Which more had something to live up to and something to prove. 

The film seems to have lucked into star casting to anchor an audience for a film with more expectations. 

The film comes off as more ridiculous than scary or even noteworthy violent. As everything feels strangely expected or goofy 

The film is obviously lower budgeted that it feels more like a first film or DIY passion project. One that you never take seriously.

One expected more from the film. As the film comes off as a mainstream Troma film only minus the nudity and sex jokes that This film might even be too tame for them. Even as it feels like a UP ALL NIGHT movie that is trying to be a cult film. 

Like an attraction that knows it’s bad and has little to offer. So it tries to dress it up with a star as best it can to bring in an audience. 

Grade: D+

A BLADE IN THE DARK (1983) LA CASA CON LA SCALA NEL BUTO

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Directed & Edited By: Lamberto Bava 
Written By Dardano Sacchetti & Elisa Briganti 
Editor: Gianlorenzo Battaglia 

CAST: Andrea Occhipinti, Anny Papa, Fabiola Toledo, Michele Soavi, Valeria Cavalli

A composer, working in isolation on a score for a horror movie meets two women who used to know his house’s former tenant. When the women disappear, he’s forced to look into the film he’s working on to determine what happened to them, and who’s responsible.

The film is obviously heavily influenced by the movie PSYCHO with a new wave twist.

The film has a good premise. Though could have been worked out a bit better. As it feels like it strives to be artsy yet comes off like a typical slasher in the right hands of a more skilled director. This could have been something worthwhile and noteworthy.

Also the Film seems real into showcasing slitting throats to finish off the female victims

The film does have a good fake-out inventive opening. Which continues throughout the film with plenty of fake scares and mystery suspects and wondering exactly what is going on. It has plenty of set up’s but fails to excite.

The protagonist stays very calm despite his suspicions. The film could have been played up his paranoia stronger to have it be contagious for the audience.

The film has so many pauses and dead moments in between the action. And when the action does happen it feels more schlocky than anything.

The killer’s voice is so creepy and unnerving messes with your thoughts and fears to be much worse than the actual eventual reality

For a movie about a horror movie composer. The main score of this movie is monotonous.

Grade: C

TORSO (1973)

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Directed & Story By: Sergio Martino
Written By: Sergio Martino & Ernesto Gastaldi 
Cinematography: Giancarlo Ferrando 
Editor: Eugenio Alabiti 

Cast: Suzy Kendall, Tina Aumont, Luc Merenda, John Richardson, Roberto Bisacco, Ernesto Colli, Angela Covello 

A string of appalling lust murders shocks the University of Perugia as a sadistic serial killer strangles to death beautiful college girls with a red and black scarf.

This film is bathed in sex and nudity more than expected. Even though at times the film tries to make it more artistic but still feels excessive.

This should be a teenage boy’s dream in the 1980s and 1990’s before the internet came forward. This is the type of foreign film you were hoping to catch on cable television that the TV guide said contained nudity and sexual situations but was usually more on the artistic side.

This film is more a murder mystery slasher where most of the characters who survive are suspects.

The actors playing college students in this movie all look way too old, but that is to be expected. 

In living up to the film’s title, the killer carved up their victims after death. The film makes it feel fetishistic. As the camera and the killers’ hands Roam the victim’s naked body

Usually the torso before dissecting it and poking out the eyes. (Trust me the violence sounds worse in the description than what is shown) other times the camera lingers on the actress’s beauty also bodies.

As a product of The Times when it was released the film is definitely misogynistic. As most of the victims are female and the male victims are either afterthoughts or killed more aggressively and gruesomely. The male characters’ attitudes towards women are just as gruesome.

The final reveal is so ridiculous. As usual with a bit of a far-fetched initial motive for the killer.

As the film seems to maleness the death scenes more iconic while the Women look to live up to the killer’s view of them As living dolls.

With a happy-go-lucky soundtrack and each death explained except for the one person of colors. Who the film leaves as more of a discarded accessory’s. As they all gawk and the female characters are mo resemble fashion models at the time.

The film also has the male characters have ugly attitudes towards women. So that each seems like they could be the Killer. No matter how minor the character. Though her crime might be that she is a lesbian also for the film.

It offers very fun surprises and almost seems to get tired of creating more elaborate Murders.

Also seems that some characters are added to only be victims and up the body count as well as seem fairer in the number of male viewers 

GRADE: B-

FREAKY (2020)

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Directed By: Christopher Landon 
Written By: Christopher Landon & Michael Kennedy 
Cinematography: Laurie Rose
Editor: Ben Baudhuin 

Cast: Vince Vaughn, Kathryn Newton, Celeste O’Connor, Misha Osherovich, Emily Holder, Nicholas Stargal, Katie Finnaren, Dana Drori, Mitchell Hoog, Melissa Cellazo 

After swapping bodies with a deranged serial killer, a young girl in high school discovers she has less than 24 hours before the change becomes permanent.

This is my type of film and comes from writer-director Christopher Landon. One knows what to expect: a high concept idea that was prominent in 1980’s/1990’s films only here put into the horror genre.

It comes out entertaining but not as much as one would have hoped. The film is perfectly entertaining. Yet even with the violence and gore. You never quite take it seriously or worry.

Half the time it is done with fun. While also giving the moral of respecting people’s titles, labels, and character and trying to define them as just one thing.

While the kills are somewhat creative. The way in which they switch bodies seems a little hokey. It’s needed for the audience to understand but kind of takes the audience out of the film. It offers a ridiculous plot device and provides comedy for this film, but as the film doesn’t live up to the campy and cheesy nature of that plot point it kind of shines a spotlight on it as a weakness.

What shines through the most here is surprisingly Vince Vaughn who could have let his performance be Purely comedic but he plays menacing, heartfelt, girlish, and comedic believably. In both his killer performance and his performance with his body being inhabited by a teenage girl. 

It’s also nice for a film to actually have a sex scene that is not graphic but plays into the genre and manages to have no nudity.

You can tell early on who the film is setting up to be victims and when it has a chance it resists twists that one might expect. It even manages to have 2 endings where the film could have ended and still been perfectly fine but needed that extra one to give the character more closure and achieve eye goal as well as have a typical horror ending.

This is a horror-comedy that offers some fun and different aspects but in the end, sticks to the rules and script of the familiar. Though it is definitely worth watching. 

Grade: C+

TEETH (2007)

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Written & Directed By: Mitchell Lichtenstein 
Cinematography By: Wolfgang Held 
Editor: Joe Landauer 

Cast: Jess Weixler, John Hensley, Josh Pais, Lenny Von Dohlen, Ashley Springer, Hale Appleman  


Dawn grows up in the shadow of a nuclear power plant. In high school, while her biology class studies evolution, she realizes she may have a hidden curse, an “adaptation.” She lives with her mom, step-father, and hard-edged step-brother. She likes Tobey, a guy at school, and he likes her. She takes a pledge to remain chaste until marriage, so they date in groups, watch G-rated films, and don’t kiss, but the power of teen hormones is great, so temptation beckons. Dawn has an admirer in Ryan, and when when things have an unexpected twist with Tobey, she turns to Ryan for help. Will he be her mythical hero and rescue her? Or can she find her way as her own hero, turning the curse into an asset?

Not a blood thirsty violent horror film, not a fun look at the genre.

The premise of a midnight movie that has hints of horror but comes off as a brutal satire based in female sexuality and a vigilante tale all in one.

Jess Weixler is excellent in the lead role and makes quite the on screen debut.

The film isn’t as exploitive or sensationalistic as you might expect considering the premise. It and it’s shots are properly composed it feels off putting and isolated as everything is more matter of fact which makes it feel even more creepy. As in a David Lynch directed film where you wonder what dark intentions lie underneath this flaccid facade.

Not only the guilty are punished or become victims of this particular abnormality. Most of the male characters seem to be unlikeable or become that way. As they come across as predatory in some way. As the abnormality is not controllable as it strikes even when she is feeling comfortable and pleasure, but it seems to have an instinct.

As the film proves to be more complicated then at first thought. As it also includes a dysfunctional family melodrama but when her and her stepbrother played by John Hensley who seems intent on making her a victim in someway. The film does manage to surprise. As it seeks to be more then one note that It could have easily been or become.

The film is intense and punishing though chooses to take it’s time and be about more than it’s noteworthy premise.

One can see how some males would feel uncomfortable watching this film as it shows them being maimed, mutilated and disfigured usually in the genital region. Which allows the shoe to be on the other foot and see how some women might have problems watching films that seem to bask in or glorify violence against women.

Though director Mitchell Lichtenstein seems to over reach to try and make the film overly artistic though then again That could just be his style which gives the film an off kilter feel.

It’s an interesting film to watch but if expecting something over the top. You will be disappointed as or goes for something more textured.

Really hope there is a sequel. If anything his movie teaches us most teenage boys are dare rapists. I don’t know how true that is, but the cast is great, Jess Weixler cute bit in an ordinary way makes you believe her and her characters woes.

John Hensley is still A very peculiar looking man. Like a human anime character truly made me hate him and Lenny von dohlen. Great to see him alive always was a fan because of the movie ELECTRIC DREAMS but I haven’t. Seen him on anything since TWIN PEAKS: FIRE WALK WITH ME.

So my final verdict check this out for a Friday night. Not a Saturday night

Grade: C+

SHADOW IN THE CLOUD (2021)

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Directed By: Roseanne Liang
Written By: Max Landis & Roseanne Liang 
Cinematography: Kit Fraser
Editor: Tom Eagles 

Cast: Chloe Grace Moretz, Nick Robinson, Beulah Koale, Taylor John Smith, Callum Mulvey, Benedict Wall

On a stormy night during World War II, a female pilot with top-secret cargo talks her way on board a bomber plane about to take-off. The crass all-male crew reluctantly agrees, but their suspicions about her identity and the mysterious cargo quickly grow. Just then a shadow appears in the clouds – was it the incoming Japanese fleet? Or caused by some other sinister stowaway?

This film had a very notorious beginning as one of disgraced Screenwriter Max Landis’s big-budget scripts being turned into a production. 

Though after much rewriting supposedly the film was eventually made. Though one wonders if the script was so pro-female before it was rewritten or maybe if he did write it that way as a kind of public apology against the charges he has been accused of. 

It also might also be an homage to the TWILIGHT ZONE movie which his father was infamously sort of even though he didn’t direct that segment of the film and also kind of a remake of the AMAZING STORIES episode THE MISSION directed by Steven Spielberg.

Either way, the film takes the premise of the classic Twilight zone episode terror at 20,000 feet and changes the situation to that of a fighter plane running a mission with an extra female passenger In the gunner galley who sees the gremlin at first. While the others think she has gone crazy, but also during this, they are being attacked by enemy planes and she is trying to keep a top-secret cargo mission from others.

So the film Is loaded and at first, it seems like this going to be a claustrophobic thriller mainly taking place with her in the gunner pit but then eventually it opens up to the whole plane. So that while it is still contained there is more to work with. 

The film stays entertaining though some of the twists are totally unbelievable and reminds you how much a production this is. Which also helps you to accept the more far fetched elements.

Especially one action Sequence where Chloe Grace Moretz is hanging out of the plane trying to retrieve her package and fight off the gremlin. This then adds the intrigue of a fighter place attacking At the same time and an explosion that has to be seen to be believed. As it is an impressive action sequence but totally laughable thinking about the physics of it and how it is played. 

The film offers a little bit of everything there is intrigue, action, war sequences, thriller a little bit of drama, and even a showcase of sexism from most of the males involved in this mission with her and how in the end she more than proves herself capable and above them. Being the bravest, strongest and most resourceful.

In the end, though they help at times as resources this is really Moretz’s action film to take hold of. As she is the hero and they are more the damsels in distress who help out a little.

It isn’t as pumped up as a similar world war II film OVERLORD but It’s a fun action film that uses history and injects something supernatural. So that they have to deal with these otherworldly elements with whatever resources they have that aren’t that advanced.

If anything this movie is an entertaining b-movie and a perfectly fun time waster. 

Grade: C

BAD HAIR (2020)

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Written & Directed by: Justin Simien
Cinematography: Topher Osborn
Editor: Philip J. Bartell & Kelly Matsumoto

Cast: Elle Lorraine, Jay Pharoah, Lena Waithe, Vanessa Williams, Blair Underwood, Laverne Cox, James Van Der Beek, Usher Raymond IV, Kelly Rowland, Robin Thede, Judith Scott, Michelle Hurd, MC Lyte, Chante Adams, Nicole Byer, Steve Zissis, Yaani King Mondschlien, Ashley Blane featherstone, Daheli Hall, Courtney Sauls 

In 1989 an ambitious young woman gets a weave in order to succeed in the image-obsessed world of music television. However, her flourishing career may come at a great cost when she realizes that her new hair may have a mind of its own.

While the film is definitely inspired, as it comes off as modern-day folklore. It also seems to become more fascinated with its time period of being set in 1989.

Which leads to plenty of comedy and laughs due to fashions and even hairstyles. It also comes at a certain cornerstone of culture. Where weaves really started to become popular and were seen as a symbol of beauty and professionalism and the film explores that concept to a degree. Which is a horror in itself becoming someone else or to a degree letting go of your natural self for something more processed and artificial.

Here the hair is haunted to a degree. This leads to some social satire and follows the general rules of a horror film though without much of the violence you usually see. Though it gets it’s point across. 

There are plenty of laughs, not as many thrills and chills. As the film comes across as looking for more depths, but still feels shallow itself or a kind of artificial product. The film comes off weak for what it seems to promise.

Even filming in old film stick seems inspired but also reminds us how much of a throwback the film is and makes it come across. As more synthetic than it should.

As it also never comes off as playful as it seeks. It wants to be campy but then wants to be serious and teach some kind of story. It tries to be of the time it is set in but seems to rest more in humor as everything else seems or feels like it falls short in what it seeks. As there is little to no tension. 

It also doesn’t help when it tips it’s audience off so many times. Like at the salon when Laverne Cox shows up and her make up is already obscured and the tone looks more zombie-ish. You can tell something is off or not right.

For most of the movie, you wait for something to happen as you keep getting hints until you finally want to see some action. 

The special effects seem like CGI when it was first beginning. So that when used it never comes across as scary if anything it comes off as elementary and almost comical. So that the film never has any scares and the kills are unimpressive. 

The film tries to have style but comes off as more artificial. As the film seems to want to say anything tiring in many issues into the horror but it comes across as shallow. As the characters come off as.

Don’t get me wrong it does entertain but comes across as a movie that never comes fully. It feels filled with filler. So that it feels more like an episode rather than a movie. Especially with it’s ending. 

In the end, it has such promise and seems like it is going for a goal that has the audience excited only to fizzle out. More like an overwrought anthology story that goes on for too long.

Grade: C

QUEEN OF THE DAMNED (2002)

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Directed By: Michael Rymer
Written By: Scott Abbott & Michael Petroni
Based on the Novels “THE VAMPIRE CHRONICLES” Written By: Anne Rice Cinematography: Ian Baker
Editor: Dany Cooper

Cast: Aaliyah, Stuart Townsend, Marguerite Moureau, Vincent Perez, Lena Olin, Paul McCann, Claudia Black, Bruce Spence, Matthew Newton, Christian Norton 

In this loose sequel to Interview with the Vampire: The Vampire Chronicles (1994), the vampire Lestat becomes a rock star whose music wakes up the equally beautiful and monstrous queen of all vampires.

While the film is lackluster in certain aspects it does provide a sequel to INTERVIEW WITH THE VAMPIRE and is a continuation of the vampire chronicles In The series of books by Anne Rice 

Though the fanfare for this film Seems to be In The legacy of singer and actress Aaliyah who plays the title role and who does before the film could be completed. As this was a great star-making role for her and at the time one of the few modern horror films. To have an African American in a prominent role. So that also helped bring more people of color to be fans of the film. As it at least had representation even if she is the villain in the end 

Narrative wise it is interesting that one of the scariest characters in the previous tale INTERVIEW WITH THE VAMPIRE was now the protagonist and more on the run from a more powerful vampire. Even as he has brought about her comeback. Due In part by his arrogance of becoming. A rock star despite vampires usually staying out of the limelight due to being immortal. 

The music isn’t very good and the film comes off as low budget trying to seem bigger and Stuart Townsend in the lead isn’t as charismatic as Tom Cruise who played the role first. He doesn’t even approach flamboyance. Though he does appear scared of the all too powerful vampire played by Aaliyah.

The way they incorporate her into the film is creative considering she wasn’t quite done filming all of her scenes. Though whenever her character seems to move the movements all seem to have a voice of chant. Which comes off as enchanting and freaky.

One of the few aspects that does work here is that it delves more into the history of the vampires and sets up a kind of mythology for them. 

The film is somewhat entertaining though ultimately a failure. Especially as at parts it tries to form a romance between Lestat and a human. That feels forced in this type of film. Especially when there is a mroe important matter at hand. 

In the end, even though the quality of the film feels like mroe a straight to video film for the times. The tragedy that happened catapulted the film into theaters and stands as a kind of living embodiment and dedication to the memory of queen Aaliyah.

Grade: D+